Moving Image Arts. Moving Image Arts. Support Guides: PRODUCTION MANAGEMENT

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1 Moving Image Arts Support Guides: PRODUCTION MANAGEMENT 1

2 DISCLAIMER External links are selected and reviewed when the page is published. However, CCEA is not responsible for the content of external websites. CCEA cannot guarantee the accuracy of the content in external sites. This is because: CCEA does not produce them or maintain/update them; CCEA cannot change them; and they can be changed without CCEA s knowledge or agreement. Some of our external links may be to websites which also offer commercial services, such as online purchases. The inclusion of a link to an external website from CCEA should not be understood to be an endorsement of that website or the site s owners (or their products/services). Some of the content we link to on external sites is generated by members of the public (messageboards and photo-sharing sites for example). The views expressed are those of the public and unless specifically stated are not those of CCEA. 2

3 GCE Moving Image Arts Support Guides Production Management Contents INTRODUCTION 4 Production Design 5 Overview of Equipment 8 Visuals 8 Audio 9 Editing 10 Filming: Top 10 Tips 11 The Crew: Role and Responsibilities 14 Managing a Production: Top 10 Tips 21 Casting: The Audition Process 23 Scheduling 25 Storyboarding 27 Health and Safety: Risk Assessments 28 Support Material: Further Resources 29 Film Production Documents: Templates 31 3

4 INTRODUCTION Film production is a demanding, time-consuming and multi-faceted process. To succeed in producing your own films, you must show creativity, organisation, diligence, confidence, and be able to take care of equipment, think ahead and work well with others. This is a challenging but also very rewarding process if you are well organised. This guide has been written to help you to carefully consider each stage of the process in a way that will ensure that your productions can run as smoothly as possible. CCEA is aware of the time restrictions faced by many of you who are also studying for other qualifications alongside Moving Image Arts, as well as issues of access that you may face as you will mainly be under the age of eighteen when undertaking the course. This guide offers ideas, advice and shortcuts to help you to make the most of what you have. We are assuming that you will approach the development of your portfolios with a degree of commitment and enthusiasm. There is an emphasis throughout this guide on careful planning, clear communication, personal responsibility and other legal/organisational considerations that are the hallmarks of professionalism in a successful film-maker. You are encouraged to think of yourself as a proper film-maker, and to take the production process seriously. This guide lays out in detail the many roles and skills a film production demands and outlines how you can negotiate these. Changes in filming and editing-related technology occur frequently and Moving Image Arts technical guides and workflow documents are updated to reflect this. Please check for updates regarding technical advice given here. For the most part, however, the material included in this guide is not time sensitive and should offer you tried-and-tested techniques and processes that will equip you to effectively tackle the challenges of your own film production. Please Note: CCEA makes every effort to ensure guidance is accurate, up-to-date and relevant. Due to the fast-changing nature of the technologies they cover, guidance documents such as this will be updated to reflect any substantial software or technical updates when necessary and the updated versions uploaded to the subject microsite. This edition dates from Autumn

5 Production Design The majority of decisions you make about your production design will be informed by your own artistic sensibilities and the setting, style and plot of your film. The look of the piece will depend upon set design, props, hairstyles, make-up and costume as well as the lighting and cinematography. Paying particular attention to these aspects will really enhance the effectiveness of your film. Throughout both AS and A2 you will study a range of films and practitioners whose visual styles will help inform your own sense of what can be achieved with production design. The visual styles you will look at, including Realism and Formalism, can and should be used, at least in part, in your own production design ideas and notes. Any mood boards, models or mock-ups you create (or photographs of these) will make excellent additions to your Director s Notebook and will be invaluable to you when formulating your own visual style for your film. The following hints and tips may not apply to your particular film, but should still give you an idea of ways in which you can circumvent problems, avoid common pitfalls, and create convincing cost-effective mockups of more complicated or large-scale items. FAKE BLOOD If your film requires fake blood, do not be tempted to use ketchup or similar it will not look right on camera. There are various effective recipes online; those based on thinned syrup mixed with food colouring (red with a small amount of blue to darken it) are particularly effective and not unpleasant if actors need to put some in their mouths. Be aware that any fake blood recipe can stain fabric and even hard surfaces like tables, and ensure you protect these accordingly or use only old/ cheap substitutes. SCHOOL LOCATIONS Student film-makers are somewhat notorious for using the classrooms and corridors of their school as shooting locations. Avoid this wherever possible in almost every case your school really won t look like anything but a school, and there are more effective ways to gain access to or simulate environments such as offices, shops or hospitals. Likewise, your school uniform does not double as a business suit. It is far better to investigate borrowed, cheap or even hand-made alternatives than to have a company CEO or high level inspector appear in school trousers and tie! GUNS If you are including a sequence that includes any type of firearm, even toys or replicas, you must be aware of the possible legal ramifications. Do not under any circumstances attempt to film or even rehearse such a sequence in a public place or in any location where you could be seen and misunderstood by members of the public. If your film includes such a sequence, you will need to ensure you take necessary precautions. You must inform the police via your local police station at least 48 hours in advance, giving them the exact time and location in which you intend to shoot and the expected duration of the shoot. You should also obtain permission from the owner of the land or building, if applicable, which again must be sought in advance. Before the shoot, put up signs indicating to any possible passers-by that the nature of what they may see is not a real situation and only for a film. It is also worthwhile to persuade at least one friend or family member to act as a production assistant who can direct people away from the shoot and explain things to them if necessary without having to cause a break in the filming. Think creatively about how you can create the illusion of shots actually going off. Spent cartridges, for example, are legal to own and can be purchased online; a ground level shot with spent cartridges dropping into the frame by the feet of the shooter can be an extremely effective cutaway to help 5

6 contribute to the illusion of shots really being fired. See our Muzzle Flare workflow in the Post Production Effects Workflows booklet for instructions on how to simulate a gun shooting. MOIRÉ PATTERN You may be familiar with the strange visual effect which can occur on screen when a pattern, usually on a costume, appears to create strange additional lines or a strobing impression of movement. This can be very distracting for the audience and makes your film look unprofessional; the best way to avoid it is to ensure that no one appearing on screen wears any finely striped or boldly checked patterns at any point. PYROTECHNICS Avoid these absolutely. Such effects can easily go wrong even in the hands of experienced professional technicians and it is too dangerous to try yourself. If you want to create fire or explosion-based effects, you can add these in post-production; see our Laser Weapon workflow in the Post Production Effects Workflows booklet for instructions on how to create a strobing weapon. SMOKE As with pyrotechnics (above), do not attempt to utilise real fire or re-purpose electrical/ heating equipment intended for other uses if you need to create smoke for atmospheric effects or explosions. As with many aspects of visual effects creation, there are numerous tutorials and suggestions available online in film-makers forums and on message boards that will help you find what you need. You may be able to borrow or inexpensively rent a dry ice or smoke machine to create clouds of smoke or fog, for example. Likewise, a small bag of talcum powder concealed on the ground and activated by a light plank or board stepped on by the actor as they run by can create a suitably sudden cloud of smoke that can be enhanced in post-production to look more like an actual explosion. CAMERA If you want some of your footage to appear to have been filmed by a character, you can easily get an effective camera filter overlay to apply in post-production. Simply taking a screengrab from a tablet or mobile device on camera mode (using rule of third gridlines or framing guides, shutter speed indications and so on) and bluetoothing or exporting it into Gimp will work well see the Editing Workflows booklet for workflows on how to use Gimp for titles and effects. CONTINUITY Paying attention to the small details of continuity such as people having their hair arranged the same way in shot-reverse-shots, or props always being placed in the same position as an earlier shot, for example can be difficult to spot for a director who is usually trying to arrange the entire scene and direct the actors. It can therefore be worthwhile to have another person this could be a friend or family member under the guise of production assistant, or even one of the actors involved in the scene if you are short-staffed who has been specially charged with checking any relevant continuity details, big or small. It may help to give them a checklist or discuss things to look out for beforehand. PROPS It may not seem like they are a big deal, but putting effort into the making of props goes a long way towards creating an effective world for your film. Newspapers are commonly quite poorly executed if you want a character to be reading a newspaper with a headline that tells us important story information, then the newspaper itself is important and worth producing well. You can find decent templates for front pages online, or simply base your own on an existing newspaper front page. Pay careful attention to the alignment of images and text columns, avoid large gaps and investigate ways you can print it so it will look convincing in size and texture. Similar rules apply for television news footage depicting a newsreader or reporter, for example if these things are important to the plot, they are important to the whole film and should be created as thoroughly and well as you can. Pay attention to real world examples of things you need to emulate and base your approximation on them as far as possible without directly copying anyone. 6

7 It costs a little money but if you need, for example, a van or car to have a company logo on it, you can have large magnetic decals printed online and sent to you. These are usually made of vinyl so they re shiny, and can be ordered in a range of colours to match the vehicle you will be using; they will easily attach to the side of the car or van for shooting and are simply removed at the end. Such things may seem like more trouble than they re worth but if they are needed to help tell the story, doing them as well as you can is an extremely good idea and will pay dividends in the final look of the finished piece. The above guidelines are only a few of the more commonly used elements MIA students choose to use. There are countless alternative and additional ideas for tackling these kinds of shooting issues online. As you begin to cultivate a good sense of how things will look on camera, you will be increasingly able to seek out the most useful information for each requirement and will make prudent judgements about how to achieve the effects that you want with no danger and minimal cost or hassle. 7

8 Overview of Equipment Knowing your equipment is a crucial element of film making. During the pre-production stages you need to make sure you consider the following equipment or kit : Visuals A Camera: The quality of your camera will depend on your budget or the equipment available at your school, but there is a great range of options available. Digital cameras can range from the video tool on a mobile phone, ipad or other tablets to a basic HD camera and from a pencam to a DSLR. Cameras can have additional features such as a headphone jack (allowing the film maker to plug in headphones or ear phones to check sound levels), tripod mounts (at the base of the camera, this is a screw that can be fixed onto a tripod plate), an on board/built in microphone or an input to add a microphone (cameras can also capture sound but the quality varies greatly). Digital Storage: Depending on the make and model of the camera, a camera can have a built in digital storage or the camera may require an SD Card. A Tripod: A tripod will have a plate on its base to allow a camera to be mounted onto the tripod. A tripod will have a built in arm allowing the camera to move for tilt and pan shots. Mounting a camera on a tripod will keep shots steady. Dolly: Tripods can be fixed onto a dolly, a base frame with 3 wheels which will allow a film maker to create a smooth tracking shot /movement shots. Additional lenses: Each camera will have a zoom in function. In addition to this, additional lenses, such as a prime lens, can be added onto the camera. Prime lenses will vary in their functionality - for example, a 50mm lens sees a similar view to what the human eye sees. Lenses can vary from 25mm to 85mm. Prime lenses will capture the shot faster. They have a larger aperture which allows for a quicker shutter speed. Lighting: Your choice of lighting equipment will depend on whether you are shooting indoors (interior shots) or outdoors (exterior shots). The standard three point lighting set-up is used in most film making and three separate light sources are required for this. Depending on the tone/mood of a scene, a film #3 Back Light Standard Three-point lighting Camera 1 Object #1 Key Light #2 Fill Light Camera 1 or 2nd Camera 8

9 maker may only use one light (a key light) or two lights (a key light and a fill or a key light and a background light) to achieve a particular effect. 3 Point Lighting: The Key light is the main and strongest light, and is placed to one side of the camera and the subject (right or left side). This chosen side will be well lit up, but this leaves the other side with some shadow. The Fill light is the second light and is placed on the opposite side of the key light to fill the shadows created by the key light. The fill light will be softer than the key light. The Back light is the third, placed behind the subject out of shot of the camera. This source lights from the rear, separating the subject from the background and helping to create a 3D look. Tungsten, Fluorescent and LED lighting: Alongside daylight (in the case of exterior shots) and a location s own natural lighting (e.g. the lights in a room), there is a range of external light sources that can be used along with a camera. These include tungsten, fluorescent and LED lights. When setting up the lights it is important to adjust the white balance on a camera to match the colour temperature. Tungsten, fluorescent and LED lights can be set up using lighting stands or mounted at ground level. When setting up lights the bulbs must be handled carefully, and when lights are not needed they should be turned off to avoid overheating. Filters and diffusers can be added to external light sources to reduce or increase the light s atmosphere. If using LED lights, the barn doors (adjustable shutters attached to the light) can also be used to correct a light atmosphere by allowing the beam to be directed as required. Light Reflectors: When filming outside (exterior shots) sunlight can cause shadows on the subject. Shadows can be controlled by using light reflectors. Light reflectors can also put light into shadows i.e. faces. White card and tin foil can reflect light, and different surfaces (e.g. gold foil) give different tonal effects. Audio Directional Microphone: Also known as a shot gun mic a directional microphone may be used with a camera as an on board mic to capture sound if the camera has no on board microphone. It can also be plugged into a camera as an external microphone. It is important to check the camera s inputs for adding a microphone, as additional leads such as an XLR input/adapter may be required. Built-in camera mics will not capture sound well if the camera is far away from the subject, and in most cases it is better not to rely on these and make sure that you have alternative mics available. Digital recorder: An external hand held digital recorder can also be used for recording sound. A recorder allows you to capture sound closer to the subject. The sound that you have recorded is then synched to the video in post-production. Tascam: An external sound capturing piece of equipment that allows you to combine several microphone inputs, a Tascam can have up to four XLR mic inputs and can be used with a DSLR camera. These sounds can then be synched to the footage in post-production. Radio Microphones/Lapel Microphones (Tie-clip mic): these microphones are clipped onto the subject (actor/actress), often on the lapel of a jacket. You may see people use them on talk shows, for example. These microphones are useful as they can be discreet (hidden under clothing) and are used in filming when the subjects are far away from the camera or when filming in a small space with no room for a boom pole. Lapel microphones can also be used for walking/running scenes, though be aware of the potential for sound distortion if it rubs against the clothing while action is taking place. These microphones have a transmitter pack which transmits the sound back to the camera or external audio recording device. They 9

10 can work very well but just ensure you check if the camera and/or the external sound capturing equipment is compatible for a radio/lapel mic. Windshields: When filming exterior shots (outside) a wind shield is needed on all microphones to cut down wind noise. They vary in type: foam covers or furry sock covers are common. Headphones/earphones: When filming it is important to listen to the sound that is being captured. Whether you are using a directional microphone along with the camera or a piece of external sound capturing equipment, there will be an input socket to allow the film maker to insert a set of headphones/ earphones, so be sure to listen in and check that you have got the sound you wanted and check for distortion. Boom Pole: A boom is a long extending pole on which a microphone can be mounted and must be held out of shot. The boom pole allows you to capture sound directly next to the subject. Editing PC/Mac/Tablet: Before editing begins you will need to transfer all of the video footage and sound files to a computer using a USB cable or a card reader. These can be extremely large files so ensure your computer has enough file space to store them. All cameras and external sound capturing equipment will have different modes of transferring files, so it is important to check if you are using a PC (Windows Operating System) or a Mac computer for your editing. Software: There is a range of editing software programs. The one you choose will at least partially depend on whether you use a PC, tablet or Mac. Editing software packages used by MIA students tend to include Final Cut Express, Final Cut Pro X and Adobe Premiere Pro. For a list of some of the software tools available, refer to the further resources section at the back of this guide. Playback: to watch back video files on a PC/Mac it will need a video playback program examples include Windows Media Player (which comes automatically with all Windows Operating Systems), and QuickTime which (which comes automatically with Macs). The video playback will also play sound (you may need headphone/additional speakers to get a real sense of how it sounds). Other video/audio play back programs include VLC Media Player and RealPlayer. VLC is one of the most versatile as it works with a wide range of codecs. 10

11 Filming: Top 10 Tips 1. Always use a clapper board/slate when filming. This will identify which shots you are shooting and help you to organise them later. The information written on the clapper board (in chalk or marker depending on whether a slate or whiteboard type is used) should include the production title, the scene number and the take number. Before the director shouts Action! the clapper board information will be visible in front of camera. If there is no clapper board available when the camera is rolling a crew member should verbally call the scene number and take number. A clapper board also helps with audio and video syncing. If a film maker is using an external audio recording device to capture sound, the clapper board s clap sound notifies the editor in post-production when the filming of video starts and when the recording of sound starts and this enables the two recordings to be easily aligned in the edit. The clapper board s clapping sound should happen each time a director is taking a new take. If there is no clapper board available, a crew member can clap their hands together (loudly), which will create the same clapping effect. Rehearsal scenes do not usually need a clapper board, however the Clapper (also referred to as the Slate crew member) will usually check with the Director first. What is important to every film maker is that every time there is a new take, the correct information is displayed on the clapper board. 2. Make sure that everyone on a film set turns their mobile phone off (not on silent mode but off or onto airplane mode) to prevent any sound/video interference. 3. Everyone involved in the filming should follow the film production s communication system, also known as Calling the Shots. Following this standard industry sequence will help keep the filming organised and it will also make sure that everyone (cast and crew) knows what they are doing. Below is a common communication system used during filming: Before filming begins the Assistant Director (AD) or Director shouts Quiet on Set. Then the Assistant Director (AD) or Director shouts Camera Rolling. The Camera Operator will respond Yes., when the camera has start recording. The Assistant Director (AD) or Director then shouts Sound. The Sound Operator will respond Yes., when the sound recording device has started recording. This is followed by the Clapper calling out the production title, scene number and take number and then clapping down the Clapperboard. The sound of the clapper board clapping triggers the Director to shout Action!. (The Director will usually wait a few seconds after the clapperboard sound before shouting action ) At this point the actors/presenters will begin performing the scene. At the end of the scene, the Director will shout Cut!. It is important not to shout cut until the scene is properly over, as a little gap after the last line of dialogue/action will make the edit easier. The Director will therefore usually wait 5 seconds at the end of a scene before shouting Cut.. Once the crew hear the shout Cut. : - The camera operator will stop recording. - The sound operator will stop capturing sound. - The Clapper will get ready for the next take (updating the clapperboard information). - The Director will make notes on whether the take was good or not. It is important for the Director to take written notes after each take. A Director will use a scene log document to do this. An example of a scene log can be found in the resource section of this guide. 4. Before filming check the location/set for unwanted noises - such as squeaky chairs, creaking floorboards, ticking clocks, traffic, outside noises, nearby building sites, house telephones - as these 11

12 disruptions can jeopardise the take and should be dealt with before you start shooting. Prior to the day of filming it is recommended, where possible, to complete a location/set recce this is an arranged visit to the location/set before filming which will allow the film maker access to all aspects of the location/ set. You can use this visit to complete a risk assessment (health and safety). A risk assessment should be completed for each film set and each film location. An example of a risk assessment can be found in the resource section of this guide. It is however advisable to check with your school or the organisation with which you are filming, as they might have their own standard risk assessment form and risk assessment guidelines. A film recce allows the film maker (and production crew) to become familiar with the location/set. It is common for the Director to take notes and photographs (which they will add to their Director s Notebook) when conducting the film recce. The film recce will help the Director decide if a location/set is suitable or unusable (too small, too loud, too big, too much light interference, too many distractions). The film maker should also find out whether they need permission to film in a location. If filming in public spaces permission is required. When filming in public spaces the film maker should have clear signs stating Filming in progress this informs the public that a shoot is taking place. 5. When filming, capture at least one minute of room tone or atmos before or after you have finished the scene. This is the background atmospheric noise on set when no dialogue is taking place. It comes in very handy during the edit for patching audio takes together and adds atmosphere to the sound design. This also applies to outside filming (for ambience sound). 6. Camera Operators, Directors and Sound Operators should use headphones when filming it is almost impossible to hear recorded sound accurately and notice discrepancies without them. 7. Always do a quick check of the audio and video before anyone leaves the location/set, just in case you need to shoot any video or dialogue again (these are called pick-ups ). Using the camera s play back tool and view finder, watch (and listen to if using an on board camera mic) some of the footage/sound and then, using the playback tool and headphone input on the audio recording device, listen back to some of the recorded audio. It is too late once the cast and crew have gone to resolve issues should you find any. Also, the film location/set may not be available again for a re-shoot. At the end of the day s filming the Director will watch the rushes, which is the industry term for that day s filmed footage. When watching the rushes, the Director will make clear notes to help prepare for the edit. 8. Before filming begins it is important for the Director and Camera Operator (DOP) to create and decide on the shot list. The shot list document will list and describe all of the shots to be filmed during principal photography. Each shot receives a unique number starting with #1 (two shots cannot have the same number). Shots are not listed in order of filming but are generally listed in order of a scene s action. When the shot list for each scene is completed this information will then be added to the shooting schedule. The purpose of the shot list is to ensure that every part of the script is assigned a shot. When creating a shot list consideration should be given to the storyboard. An example of a shot list, shooting schedule and storyboard can be found in the support material section of this guide. When completing a shot list the following should be considered: Types of camera shot e.g. EST (establishing shot), CU (close up). Use of camera movement e.g. dolly shot, tracking shot, tilt, pan. Locations for both INT (interior shots) and EXT (exterior shots). Scene numbers/scene headings which can be found in the shooting script (screenplay). Major technical requirements, actions, important objects - does the shot require certain lighting, sound, a CU of a significant object? 12

13 9. Before filming, create a props and wardrobe list. Props and costumes may have to be sourced or created depending on the demands of the script. Once sourced or produced, props and costumes should be labelled according to the scene. An example of a props and wardrobe list can be found in the support material section of this guide. 10. Whether you are shooting a short or feature length film, you will need a crew. It is also important that all of the crew know the script, the shooting schedule, and their crew role and the responsibilities (including how to operate any necessary equipment). The next section briefly explains the film crew s roles and responsibilities. 13

14 The Crew: Roles and Responsibilities The table below outlines the key film production crew roles and their associated responsibilities when filming. Each film production differs and, depending on the number of skilled crew available, some roles can be merged this is often the case on low budget films, student film productions and films that have a small cast. For Moving Image Arts you, the student, will take on a number of the most significant creative roles (as outlined in the GCE MIA Student Guidance booklet), but a key responsibility for each of the crew members you decide to bring on board to assist you, will still be to work well together in ensuring that all stages of the film production run smoothly, on time and within budget. Crew Roles Director A film director is the production crew member who directs the making of film. Film directors are the creative driving force of a production. A director s main role is to control the artistic and dramatic aspects of a production. The Director is the leader and supervisor of the entire production crew. Summary of Responsibilities During the actual filming the Director cues and calls commands to the production crew and cast. Assists in the casting of actors/actresses. Works with the DOP on the shot list. Works closely with the AD in the pre-production and production stages. Directs cast and crew in bringing the screenplay to life. Producer A film producer is the production crew member who coordinates, supervises and arranges all elements related to the film production. A film producer assists in the development of a script idea, pre-production, production, post-production and distribution they are the director s primary assistant for most of the larger responsibilities and decisions and are involved in all stages of the production. Works with the Post Production team. Is responsible for sourcing the funding/finance for a film production. Arranges casting/auditions works alongside casting agents. Works alongside each head of department on a film s production i.e. Locations, AD, Casting and Technical Crew. Manages the film productions budget. Co-ordinates and assists in the hiring of production crew. Assists the screenwriter on script edits and prepares the shooting schedule. Arranges the film distribution. Coordinates all of the legal documents, e.g. contracts, clearances, release forms, permissions, copyright clearance. 14

15 Assisting Director (AD) A film production can have up to three ADs, referred to as the 1st, 2nd and 3rd AD. They work closely with the Director and Producer in the pre-production stages and during filming and may handle directional duties on smaller portions of the film or shoot with a second unit elsewhere while the Director continues on the main set. Is involved in all of the preparation for shooting including drafting schedules for crew, cast and locations. Prepares daily schedules and call sheets for cast and crew. Arranges hospitality / travel / accommodation for cast and crew (if required). Manages the behind the scenes logistics during filming. Checks weather reports/traffic reports. Distributes all schedules, scripts, changes to preproduction documents to cast and crew. In conjunction with technical crew, arranges the transportation and availability of all equipment. Manages the clapperboard/slate. Manages walkie talkies, traffic cones and the supervision of crowds. Assists in sourcing extras and during filming coordinates the extras. Location Manager The Location Manager will source, manage and coordinate a film s locations and sets. Works closely with the Producer and Production Designer to research, source and secure all locations/sets. Conducts the risk assessment on all locations/sets. Manages the location agreements or contracts for set design. Seeks filming permission from the necessary authorities i.e. local council, PSNI, public spaces, private spaces etc. Manages the set up of locations during production, working with the Production Designer on props storage, setting up the locations for filming and a behind the scenes or hospitality area for cast and crew. 15

16 Data Wrangler A Data Wrangler s main job is to organise all footage (sound and video) captured during filming. Works alongside the Producer and AD Department. Responsible for collecting all SD cards from the camera/ sound equipment. Organises and labels all sound and video files at the end of a filming day. Backs up all sound and video files before reformatting SD cards for re-use. Transfers all audio and video footage from the camera/ sound equipment. Labels and organises video and sound files for the editing team. Organises sound and video files for the daily rushes viewing (by the Director, Producer and DOP). Director of Photography (DOP) The DOP or Cinematographer is the chief camera operator in a film production. A Cinematographer s main role is to manage the camera and lighting and their crews to ensure the correct artistic and technical decisions related to the filming (image) are made. Works closely with the Director in pre-production to create a shot list that is visually representative of the script. Assists the Camera Operators and lighting department in preparing any technical elements for filming. Coordinates the lighting and camera angles. Works alongside the Director to create the screenplay s visuals during filming. Works alongside the editing and special effects team to ensure the visual design of a film is maintained during post-production. Camera Operator A film production can have many camera operators working as part of the film production crew, usually ranked as 1st Assistant camera operator, 2nd Assistant camera operator etc. Assists the DOP in camera operations. Sets up the camera during filming. Operates the camera (in accordance with the shot list). Works as the Focus Puller (assistant to the DOP camera). Maintains all camera and camera-related equipment. 16

17 Operates camera equipment such as a tripod, dolly, jib or shoulder mounts, and/or specialised camera equipment such as Go Pro, Steadicam and time lapse cameras. Production Designer/Art Designer A Production/Art Designer oversees the entire design of the production. A film production can have many assistants working in this film department or the AD department will work alongside the Production/Art Designer. Manages and coordinates everything that will appear before camera. Works alongside the wardrobe, hair and make-up departments. Will assist the Director and Producer in the process of storyboarding the film during pre-production. Creates the credit list for the post production team. Works alongside Set Designers, location teams, construction teams, Props Designers and Costume Designers to create the style and look of the film and ensure health and safely is adhered to. Works alongside the visual and special effects team during all stages of the production. Stills Photographer/ Behind-the-scenes videographer Works as part of the production crew in capturing still photographs of crew and cast in action and publicity photographs of the cast and Director. May also capture behind the scenes footage which can later be used as a documentary. Takes still photographs of set, locations and cast to assist with continuity. Takes still photographs for publicity such as press releases or posters. Films behind the scenes, e.g. interviews with cast and crew. Works alongside the Producer and AD team to supply continuity photographs. Takes photographs of cast/crew at screening nights and publicity days. Documents the entire film production s workflow. 17

18 Gaffer/Chief Lighting Operator Chief lighting operator in film. A Gaffer s main role is to create the correct lighting design required by the Cinematographer. A film production can have many Lighting Operators working as part of the film production crew, usually ranked as 1st/2nd/3rd Assistant Lighting Operator. Is the chief electrician on a film set. Sources, manages and coordinates the lighting of sets and locations. Carries out electrical work such as fixing lighting blubs or generators. Manages the Lighting Operators as they set up lights, run the cabling, check the electrical power supply and so on. Works alongside the location team to ensure health and safety compliance. Monitors the lighting during filming. Sound Operator/Mixer Main crew member responsible for all sound captured during filming. A film production can have many Sound Operators (1st/2nd/3rd Assistant Sound Operator etc.) that work under the supervision of the Sound Mixer. Is responsible for the recording of production sound and synch-related sound on set/location. Supervises the management of onset sound equipment. Operates sound equipment which can include a range of sound recording devices. Works alongside the AD and Producer in the selection of suitable audio equipment (such as mics etc.) during preproduction. Assists in the recording of ADR, foley and music during post production. Maintains a log of all sound recordings and labelling of all sound files. Boom Operator Works under the supervision of the Sound Operator/Mixer. Holds/places mic booms and cables during production. Assists in the set-up of all sound recording devices and microphones. Monitors sound using headphones to listen to all tracks recorded during production 18

19 Script Supervisor and Continuity During filming records a daily log of shots covered from the shot list. Ensures continuity during filming. Records on the daily log the shots covered from the shot list. Works alongside the Director and AD in maintaining notes. Works alongside the DOP and camera teams, logging camera settings, dates, times of filming etc. Acts as the continuity person on set/location ensuring cast/props/set are continuous. Works alongside the AD team providing daily production reports. Provides post production team with logs of information needed for the edit. Production Runner Key person/people working as general assistants during the film production with all departments, crew and cast. Works under the direction of the Producer and AD department to undertake whatever tasks are required on a film set/location. Performs a range of duties including hospitality, note taking, getting everything in place for shooting and so on. Carries out admin duties in the production office. Carries out duties required in other production departments, e.g. locations, props, cast. Drives cast/crew and picks up equipment. 19

20 Post Production Each film production will have a different post production team. Key post production crew members are: Editor Assistant Editor Sound Designer Sound Mixer Visual Effects team Composer Editors work with the Director and Producer to assemble the film; work with the DOP in colour correction; assemble the footage into cuts, create the final cut and then export in an agreed format. Assistant Editors log and capture all media, prepare an off line edit timeline, organise all media, read log notes and back up all edits. Sound Designers work with the Director and Editor on the creation of a soundtrack, ADR, sound effects and foley sounds; working alongside the sound mixing team to ensure the correct format of sound is used when synced with video. The Visual Effects team works alongside the Editor, Director and DOP to create, design and implement compositing work suitable for the overall film s visuals/ sound. Composers write original music for the film which can be both diegetic and/or non-diegetic. A Composer will also supervise the recording of music/scores. The post production team will also be involved in the preproduction (preparation/design) and production stages (log notes) of a film production. 20

21 Managing a Production: Top 10 Tips Film makers often have to manage all aspects of their film and are involved in each stage of the film making process i.e. from the early development/script development stage (writing the screenplay) to the preproduction stage (creative development/planning) to the filming (production stage), to the post production stage (editing) and finally to the screening (distribution/exhibition or in the case of MIA submission of the final film as coursework). As a student film maker you will need to oversee all aspects of your film s production. To manage this there will be certain skills and qualities you will need to apply. Here are ten helpful tips a film maker should consider when managing their own film production. 1. Make sure the team you choose to work with you has a strong and committed working relationship with you and that they are also capable of performing the tasks you need them to do (particularly when it comes to the actors you have chosen as many of the other creative roles will mainly be conducted under your direction). 2. Make sure the production crew and cast have everything they need e.g. equipment, food/drink facilities, production documents. 3. Communicate well with your crew and cast. Pass information on to everyone who needs it. Hold regular meetings both before and during filming. 4. Be aware that you will need to be flexible with regards to your shooting schedules i.e. to ensure that crew, cast, equipment and locations are going to be available at the same time. Careful planning and good communication will help with this. 5. Have a sense of humour and avoid losing your temper; your team also want to make sure the film is made. 6. Keep a hard (printed) copy of all of the production s documentation and back up your work regularly. Organise and update all of your paperwork as the production progresses. Keep an ongoing log of your logistical and practical planning to ensure that your production remains an organised process that can adapt to challenges and unexpected changes in circumstances. You should also keep a clear record of your creative ideas development and notes and include these in your Director s Notebook. 7. Ensure that all video and sound files are backed up and saved. Log all files correctly and name files appropriately. 8. Be aware of health and safety issues, particularly when working on locations and with equipment. Be familiar with the fire evacuation procedures on each of the locations you plan to use (hence the importance of location recce visits). 9. Be aware of licensing agreements for using music, stock footage, online footage or any other video or sound footage that is not owned by you but which you want to use as part of your film. Take account of any relevant copyright, moral and ethical considerations. Complete any required embedded third party copyright paperwork required by CCEA (the EC1 form). 10. Ensure you have release forms for all cast, locations and any other contributors to your film production. Complete the required CCEA paperwork as early in the process as possible (this includes the PR1 and 21

22 FR1 forms outlined in the GCE MIA Student Guidance booklet). Please note that any performers under the age of 18 cannot legally provide consent and parents/legal guardians must be consulted. 22

23 Casting: The Audition Process An important part of the pre-production stage is to identify what cast you will need for your screenplay. When sourcing your cast consider using: Performing arts students at local colleges and universities Drama students in your school (theatre / drama / music students) Students from your class or school Teachers and staff in your school Neighbours, family and friends Local drama societies/clubs young and older drama groups Online websites, forums or groups associated with casting and drama Create a character description document for each of your characters (including lead cast, supporting cast and extras). For main characters at least, the character descriptions should outline: Gender Age Nationality Physical appearance i.e. the overall look of the character Backstory, background information on character i.e. hobbies, occupation, family, friends Create a Call for Cast poster, , leaflet and/or online post. The call for cast should include: Character descriptions (including name if possible) The date, time, and venue of auditions. Include information on how they need to submit a C.V., showreel or headshot before the audition, if required Contact details to which actors can apply for more information A synopsis of the script (a short description including film title and log line) Dates of filming and locations (if known) The purpose of the film production i.e. student production, show reel, competition, film festival Payment (if a budget is available), transport supplied, and any hospitality supplied during filming Reasons why people should audition examples might include the chance to work with a skilled DOP/ crew, fun, an opportunity for the cast to contribute to their own show reels and build their CVs. When you are auditioning cast members: Decide if your auditions will be on a first come first serve sign-up sheet or if the auditions will be invite only, with each person auditioning being assigned a set time to arrive. You can bring groups of people into the audition at the same time to work with each other for a particular scene or to see if they gel with each other. if sending out invitations to auditions, clearly outline the date, audition time and venue. Ask invitees to confirm their attendance in advance. Do this before you send the script. Once the auditionee replies, send them a copy of the script and inform them which character and part of the script they will be required to read from for the auditions. Allow the auditionee time to arrive and during each audition allow them to try a few retakes of the scene. Have extra copies of the script at the audition. 23

24 Ask another member of the production crew to assist (often those in attendance will include the Director, Producer and DOP) Film the auditions. Set up a camera and microphone. Inform those who are taking part in the auditions that they will be filmed on the day of the auditions ask permission. You can then watch the audition tapes to enable direct comparisons and avoid missing someone out or forgetting a good earlier audition. Be friendly to the auditionees. Prompt the auditionee i.e. ask them to read directly from the script and also allow them to perform their own version of the material. Explain to each person what you are looking for and the background to character. Make notes on voice, appearance and acting availability and keep a casting file (future productions, extras etc.) if you re planning further productions. Give everyone equal time/chances, allowing people to start again if needed. Check each auditionee s availability, as there is no point in casting an actor if they are not available on the dates of your production/shooting schedule. Take note of the actor s availability as this will help with your shooting schedule. Exchange contact details. Select the most suitable actors, with no discrimination on the basis of age, gender, national origin, religion etc. On the day, thank the actors for auditioning and giving up their time. Let the actors know when a decision will be made it is better to overestimate how long it will take you to get back to them than to promise a call by the following day and then find you haven t time to contact them until the next week. Try to make the decision on the day of auditions if it is tricky, try to arrange a follow up audition if needed. 24

25 Scheduling A film production is divided into different stages: Pre-production: development, research preparation. Production: largely the main filming period. Post Production: editing and effects. Distribution and Exhibition: submitting film to film festivals, broadcasters, exhibitors, or other forms of screening (such as submitting coursework). Filmmakers may have an agreed date for distribution and screening; if this is the case then the scheduling of the film usually works backwards from the distribution date. The same principle can be applied to your student film production when scheduling your production, the distribution date would be the coursework deadline date, which is set by your teacher, so you can work backwards from this date to determine the ideal pre-production start date and ensure there is time to get everything done. Please note that your teacher will play a central role in setting deadlines for you and others in your MIA class, to ensure that school timetables and resources can accommodate all the different productions taking place. You should consider the following guidelines when scheduling the different film production stages: How long the screen play is, and in how many locations it is set this will determine how many shooting days will be needed. How many days and weeks are there from the distribution date to the start date? Create a week-by-week calendar that will sketch out the film production s different stages. Consider holiday periods and half term breaks. If the script requires a lot of exterior shots consider the time of year for filming, including likely weather conditions and the number of hours of daylight for which you are likely to be able to work. The table on the following page can be used as a helpful checklist for the various steps and associated deadlines you need to consider when scheduling a film production. Activity Stage Date Synopsis and Script Writing Pre-production Script Writing amendments Pre-production Shot list and Storyboard Pre-production Character description documents Pre-production Call for Cast Notice Auditions Pre-production Auditions and Casting (cast list) Pre-production Location Recces (location list) Pre-production Sourcing and booking equipment (equipment list) Pre-production Selecting crew and crew roles (crew list) Pre-production Sourcing props and costumes (props/costume lists) Pre-production Crew meeting Pre-production Cast and Crew meeting Pre-production 25